An institutionalised Macbeth struggles with his crime, his body and soul at the mercy of the prison. Lines of power are drawn along the boundaries of gender, violence; the politics of murder and war. Macbeth struggles with the experience of living between the boundaries of reality and unreality, their world in constant flux; the present blurred with vivid recollections of the past.

 

Foul Play presented a new perspective on the text, reworked extensively by a dramaturgical team. Foul Play invited the audience to experience Macbeth with two casts — one male, one female. Audiences were able to choose to attend a Female Ensemble performance, a Male Ensemble performance or a Double Bill or both performances playing back to back. Given two similar versions with completely separate casts, we asked the question: how much of the difference between the two performances is inherent in the production and how much is in the perception and reception of the audience?’  

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DATES:
23 January 2014 - 9 February 2014

​Plant 1, Bowden, South Australia

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DIRECTOR: Yasmin Gurreeboo

SET DESIGNER: Manda Webber

COSTUME DESIGNER: Olivia Zanchetta

SOUND & MUSIC COMPOSITION: Daniel Thorpe

LIGHTING DESGINER: Ben Flett

STAGE MANAGER: Brad Thomson

FIGHT DIRECTOR: Rob Macpherson

DRAMATURGY: Craig Behenna

ASSOCIATE LIGHTING: Alexander Ramsay

ASSISTANT DIRECTOR: Delia Taylor

ASSITANT SOUND: Jesse Budel

DESIGN SECONDMENT: Zoe Aitken

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FEMALE ENSEMBLE:
Jacqy Phillips, Laura Brenko, Amy Victoria Brooks, Chrissie Page, Stefanie Rossi, Lisa Harper Campbell, Holly Brindley, Rebecca Calandro and Romina Verdiglione.

 

MALE ENSEMBLE:
Patrick Frost, David Geddes, Eddie Morrison, Elliot Howard, David Hirst, Nathan Porteus, Adam Carter, Peter Cortissos and Graham Self.

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